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Author 



Title 



Imprint 



1«— 47372-1 



PHICIQ TISN C^ntS, 




glPOIWHH|^^ 



132-1-5:3 Oll-ver Street. 
BOSTON, MASS. 




JOHN L WHITING & SON 



Sole Manufacturers of 




WHITINGS' CELEBRATED 

R.UBHR 



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mo-HCESsT .a-t:^7".a.i^3d. 



It is claimed for these Brushes, by the manufacturers and 
who have used them, that they are superior to all others in finisj 
compactness of design, and in working and wearing qualities. 

GIVE THEM A TRIAL AND YOU W] 
USE NO OTHER MAKE. 

Ask for Whitings' Patent Paint, Varnish, Sash, Wall, \Xh\ui\} 
Coach Painters* and Artists* Brushes, etc., < i- . 

Manufactory of Goods: 

Nos. 132 to 146 Oliver St., Bostoiv, M 



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COPYl 

JOHX I,; MTHITIIVO & ^'^is, 
BOSTON, MASS. 

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WHAT TO DO AND HOW TO DO IT 



REMOVING SPECKS FROM VARNISH. 

There are but few who go to work the right way to pick out the 
motes from the varnish when they apply it to a panel, most paint- 
ers waitmR to do this until the varnish has flowed down level. To 
properly remove bits of hair, Hnt etc., first procure a finely 
sharpened whalebone, or tie to a stick a thm strip of quill; then 
when the first "dressing" of the varnish has been given, let it set 
for a moment to flow, that all the specks may be seen, and with 
the ''picker" as above described, carefuUy remove them and pro- 
ceed to dress the varnish for the finish. It may be that a few 
specks will remain, or are added by the last dressing. If so, it is 
a simple matter to pick them out. If a/l the specks are removed 
after the dressing has been done, there is sure to be a mark left 
where they came out, but by taking away all that can be seen on 
the first dressing, the job will come out clean and free from all 
picker-marks. 



GRINDING PAINT 



The introduction of ready-prepared colors into the carriage and 
car paint shop was certainly a boon, not only to the workman and 
the boss, but to the poor apprentice boy who was compelled to 
labor day after day in turning an old worn-out paint mill. How- 
ever, the mill is a necessity, and there is yet work for the boy in 
that line, but it should be the duty of some one in the P^int shop 
to supervise the running of that machine, and if possible rel^.e 
the apprentice of some of the drudgery imposed upon him One 
of the most important features of the ordinary '' "arris Mill is 
the beveled gear. They become worn, and do not mesh together 
properly, or the lower platen is forced upward by becoming worn 
and the bevel gears come together too tight, causing very hard 
mrning. The step or bottom end of the vertical shaft requires 
frequent oiUng, asSvell as the bearings o the ^rank-shaft. The 
scraper must be nicely adjusted or it wi 1 P/^^^^^^^/^^^.^^f^^^ 
ed^e of the platen, and cause the same to turn hard. Ihe teed 
grooves must be filed out every few^ weeks and t-^f ^^^^^^ P^^^- 
Ucular piece of woi'k, which should not be intrusted to a boy or 
nexperfenced workman. For the grooves must not run down to 
the extreme e^^e,-or be made too large or deep. When the feed 
grooms are wo\put, the paint will not run ^-wn to the exi , and 
consequently 'tne time taken for runmng out will be greatly ex- 

bf cr,'hs?i™-' !£r Jj Sim srsof-s 



SOMETHING ABOUT BRUSIIE 



S 



If, as John Wesley said, and who can doubt it, "Cleanliness is 
next to godliness," brush-makers are great benefactors of the hu- 
man race. It is hardly too much to assert that without brushes, 
cleanliness, as it is now understood in civilized society, could not 
exist. Not only our persons, and the clothes we wear, but the 
houses in which we live, the ships in which we sail, are largely de- 
pendent, for cleanliness, on the faithful use of brushes. Printing 
has been called " The art preservative of all arts." If less can be 
claimed for the art of brush-making, it is at least true that it is an 
art preservative. Everything in nature tends to decay, and that 
remarkable tool the paint-brush, in all its many forms and varie- 
ties, has doubtless done more to check that tendency than all other 
tools, machines and instruments of man's devising. In addition to 
strict utility, brush-making, as an art, furnishes the indispensable 
tools for that art which ministers more fully than any other to the 
sense of the beautiful. An unpainted house is painful to look at, 
and without his brushes, neither the house-painter nor the artist 
who paints the greatest masterpiece would be able to do his work. 

There are few if any of the useful arts more difficult than brush- 
making for a novice to engage in w4th success. In the w^hole his- 
tory of the trade in this country, no one has ever succeeded who 
was not himself a practical brush-maker. This fact might serve as 
a warning in the future, and had it been heeded in the past would 
have saved many from misfortune and serious losses. 

The capital required to carry on this business is larger in pro- 
portion than is needed in almost any other kind of business. 
Especially is this true in the manufacture of the staple brushes — 
Paint, Varnish and Whitewash. 

The material required consists mainly of hogs' bristles, and is 
"quite expensive. The chief source of supply is Russia, and St. 
Petersburg is the great market of the world. Large quantities are 
also obtained from Poland, Germany, Belgium and France ; and 
the immense pork-packing establishments of this country furnish 
large supplies, but of inferior quality. The European hogs from 



fast revolving platen, and is chipped off in a fine spray of grit by 
the scraper into the cup of clean paint, necessitating at times a 
complete re-grinding. To overcome this difficulty, the edge of the 
revolving platen should be turned off leaving only a narrow rim, 
say one-quarter of an inch in width, a job that any machinist can 
quickly do. By thus attending to the mill, keeping it clean, and 
regulating the pressure upon it to correspond with the strength of 
the apprentice boy, one of the most distasteful tasks of the paint 
shop will be made more pleasant, and the merry whistle of the 
workmen as they come to work will be an ample compensation for 
the labor expended. 

TO BRIDLE A BRUSH, 

Nearly all the brushes used for plain painting require an extra 
binding or " bridling," that is,, the original binding is extended out 
over the bristles about one-half their length, in order to prevent 
them from spreading as wide as they would otherwise. There are 
several ways of putting on this bridle. One is to wrap a stout cord 
around as far as desired, and theru secure it to the handle, but a 
better way is to take a piece of muslin just large enough to go 
around the brush, and wrapping it around, tie it at the place where 
the binding is to come, then turn it back toward the handle, as you 
would turn a coat sleeve or stocking ; and fasten all securely by 
tying a cord around the handle, cut off the surplus muslin, and a 
neater binding could not be desired. There are several patent 
brush binders in market, which serve a very good purpose, and 
those I have seen deserve at least a trial. 

PERCENTAGES IN MIXIN^G. 

I have frequently been asked by workmen what the meaning of 
percentage was, when they were told to add, say : 5 per cent, of a 
certain material to a mixture,, and I therefore thought it quite 
proper to make particular mention of percentages. 

Five per cent, means simply five parts in one hundred. If we 
are told to add 5 per cent, of oil to a quantity of paint, we must 
first calculate the amount of paint. Supposing we are to make 20 
gills of color, or 5 pints, then i gill would be i part of 20, or 5 
parts of 100, which Avould be 5 per cent. Therefore i gill in 20 
gills, or I pound in 20 pounds, would be 5 per cent. 

Ten per cent is ten parts in one hundred, and means conse- 
quently, as above shown, 2 gills in 20, or i gill in 10 gills. 

TO MAKE A PUTTY THAT WILL STAY WHERE PUT. 

The greatest trouble with putty for almost any purpose, is its 
liability to, dry hard and. chip out,, and especially is this the case in 



which bristles are obtained live in a semi-wild state, are thin and 
long-legged, being almost entirely without fat, and are not killed 
when young, as they are here. 

Russian bristles run perfectly uniform ; one bundle represents 
the whole package or cask, they being inspected by government 
officials who reject all stock not up to the standard, and there are 
but few grades of them. The best quality is called Okatka, and is 
from five to eight inches in length. The next quality is c-alled 




]T WoliCo K^V/ ^ii>\ 1^JOf 



v 



Firsts, and is from four to six inches in length. These two grades 
are stiff bristles. Length, color and stiffness are the character- 
istics on which the value of all bristles depends. 

The third quality is called Suchoys, is from four and a half to five 
inches in length, and is without stiffness. The fourth quality is 
called Seconds^ and is essentially like Suchoys^ the principal differ- 
ence being in length, the length running from three and a half to 
four and a half inches. 

German, Polish, and bristles from some other countries, run 



the plate glass of heafses and carriages. To full}' overcome the 
trouble, take a piece of velvet or plush, and pull out the warp, 
which will leave the woof in the form of short threads. Mix this 
intimately with your putty, and it will act like hair put in plaster, 
preventing any disintegration. I 

FASHIONABLE COLORS. I 

Shell Pearl. — Add carmine to white. 

Shrimp Pink. — Add carmine to w^hite. 

Old Gold. — Add orange chrome to yellow ochre. 

Burgundy. — Add asphaltum to any bright lake. 

THE USE OF WHITING IN THE PAINT SHOP. 

Whiting, /. e. pulverized chalk, is of far more use in the shop 
than many suppose, although many who pretend to know all about 
it will not use it. For making putty for bodies or gears, one-third 
whiting added to dry lead, then mixed with Japan and rubbing 
varnish will give the most satisfactory results, for such putty is not. 
liable to shrink or sv/ell. 

Whiting may be used in making a glazing or plaster for filling- 
old cracks, as follows : Take equal parts of English filling, dry 
lead and whiting, and mix with equal parts of Japan and rubbing' 
varnish, then add one-half the quantity of rye flour paste to the 
paint, and stir all together into a thick mush-like consistency, and 
spread it on with an old brush. Allow it to remain a few minutes, 
then scrape it down level with a broad bladed putty knife, and 
when dry rub down with pumice stone as usual. 

Whiting is an excellent adulterant for vermilion, as it has no 
coloring quality. It adds quantity only, and a small quantity of 
vermilion may, by the addition of whiting, be made to cover a 
gear. Besides it makes American vermilion work easier, cover 
better, (as a heavier coat can be applied) and, so far as durability is 
concerned, I have yet to learn of any injurious effects. 

Whiting is useful for preventing gold leaf or bronze from adher- 
ing to any varnished surface. 

It is also extensively used in cleaning glass, and scouring metal 
surfaces. 

What other uses can be made of WHITING in a paint shop, 
these pages will tell. 

GOLD BRONZE. 

There seems to be an acid in English varnish which acts upon- 
gold bronze, bringing out verdigris, and causing the bronze to turn 
a dark green when that varnish is applied without an intermediate 
coating. American varnish on the other hand does not affect 



: 



very irregular, and require the greatest caution and best judgment 
In buying. They are in greater variety. Leek is the name applied 
to a large class of them, and SpUz is applied to another large class. 
There are a number of other names, each applying to a large class. 
French bristles are the finest in the world, and are better adapted 
for artists' brushes, varnish brushes, etc., than any other kind. 
They run about as uniform in quality as the Russian, and are per- 
fectly dressed. 

Preparing or dressing the bristles is the foundation of the trade, 
without a thorough knowledge of which it is impossible to make 
good working brushes. They must be carefully washed, bleached, 
combed and dragged. It is a singular fact that we are dependent 
upon the dirtiest of animals to produce articles indispensable to 
neatness in all civilized countries, and there is no good substitute 
for bristles in the world. 

The first process in dressing is very tedious, and requires skill 
.and expedition. The bristles are first soaked in hot water, and 
then rubbed with soap on a rough stone or iron wash-board, which 
thoroughly cleanses them from dirt. They are then tied up tightly 
in bundles, to prevent warping and to take out their natural bend or 
crook, and taken to the drying-house. Previously to their being 
tied into bundles and dried they are, however, put for one night in 
the bleaching-house and bleached with brimstone, which gives the 
white bristles a brighter appearance. When dry, they are sent to 
the combing-room, where the colors are sorted out, and they are 
combed, dragged and mixed. To comb them they are worked 
through a comb, a sort of hatchel, w^hich removes the loose wool 
adhering to the bristles. They are then dragged, which consists of 
pulling out the bristles in the bundle and sorting them into different 
lengths, after which they are manipulated on the comb by a process 
of lapping, so as to become thoroughly mixed. They are then 
ready to be put into brushes. For paint and similar brushes, they 
are left as they are; but for hair, cloth, tooth brushes, etc., they 
are cut to lengths as required. 

Whalebone is never used in paint brushes, etc., notwithstanding 
the conviction of many painters to the contrary, of which idea they 
probably wjl? never be rid. 



8- 

bronze in the same manner, and it is therefore generally used 
directly upon the bronze. But to prevent the fading or darkening 
of gold thus applied, I have found it an excellent plan to first pencil 
varnish the bronze with best French shellac varnish, which dries in 
ten minutes, then apply any varnish you desire, and no discolor- 
ation takes place. 

TO MAKE A STRIPING PENCIL SHORTER WITHOUT UNFITTING IT 
FOR ITS ORIGINAL USE. 

Take a piece of writing paper about ^ of an inch wide, and wrap 
it around the pencil in the same way as in making a lighter, leaving 
the lower end rather loose, the upper end tied. By this method a 
pencil may be made as short as desired, and when done using^ 
remove the wrapper and grease the pencil before putting it away, 
and it will be as good a striping pencil as ever. 

To make a broad stripe where the pencil is not large enough, tie 
two or three pencils together, using splints to fill the space between 
the quills. It does not always pay to buy a broad pencil for only 
one job, and by doing this a pencil may be made to suit the work 
in hand and then be separated as before. 

SELECTING PENCILS. 

Striping pencils should never be put in the mouth and drawn 
between the lips while wet with warm spittle, to enable one to 
judge of the shape, or point, for the warm spittle causes the hair 
to crinkle, and in some cases the pencil will be ruined. If you will 
press the hairs between the thumb and finger to flatten the pencil, 
then draw it downward, holding it up to the light meanwhile, you 
will be able to judge of its point. If the hairs appear to gradually 
thin down, 3^et a square end is formed, you may be sure of a good 
point, but if the hairs appear ragged, no two of a length, reject it 
as a poor one. The ends of striping or lettering pencils should 
never be cut across to square them, for the blunt end thus made 
makes a poor end, and good work can never again be done with 
that tool. 

PAINT RECEIPTS, AND ITEMS OF INTEREST. 

How to produce crimson. — First paint a ground of light English 
vermilion, to cblor-and-varnish ; then rub it down smooth with 
pulverized pumice stone and water, and lay on a heavy coat of 
carmine glazing, made by grinding carmine and varnish, or, if you 
wish to make a cheaper job, use Munich lake in place of carmine. 

When paim, particularly lead color, stands exposed to the air 
for any considerable length of time, if there be much oil in the 
mixture, it becomes "fatty" and will not woik or dry well. This 
ig owing in part to the evaporation of the spirits, and the partial ; 



6ur house was established In 1865. We do not claim to be an 
old house in any sense of the word — certainly not old fogy. At 
first doing a small business under adverse circumstances, we have 
steadily and rapidly increased our business until now we are by far 
the largest manufacturers of brushes in the United States, or that 
ever has been. We are also the largest manufacturers of brushes 
for the use of Painters, Varnishers, Kalsominers, etc., in the world. 
We are the largest consumers of bristles in the world. One quarter 
of all imported into this country are bought and used by us in the 




manufacture of our goods, besides a large fraction of the domestic 
product. Buying as we do, so heavily, we buy at lower prices 
than other manufacturers. This fact, with the saving that we make 
in consequence of our patents and machinery, enables us to pro- 
duce and sell goods at lower prices than others can make and sell, 
of equal quality. Our success in business can only be accounted 
for on the ground of the superiority of our goods and the prices at 
which they are sold. So well known are our brushes now, and 
their quality so appreciated, both by buyers and other brush manu- 



oxidation of the oil. Quick color is not so apt to become fatty,, 
but all paint is more or less injured by being thus exposed, and 
should always be closely covered. 

Tea-green is a color frequently called for, and one which makes' 
a fine color for tea-carts. ( ?) It is made by adding to chrome green 
raw umber and blue. The proportions cannot be well defined, for 
there are so many shades of tea. 

GREASING STRIPING PENCILS. 

When putting away striping pencils, they should not be greased 
with oil, for there is an acid or an alkali in some oils that burns or 
rots the hairs. They should be kept in a covered box, w^ell greased 
with tallow and sweet oil mixed together, which will not harden in 
cold weather. Artists* pencils of all kinds may also be kept in 
good order if greased with this mixture, which is easily rinsed out 
with turpentine. 

"the king" varnish brush. 

*' It is seldom that we so readily commend a new tool as, in this' 
instance, we do the patent varnish brush of Messrs, John L. Whit- 
ing & Son, Boston, Mass., which they are now supplying under 
the name of *'The King." It consists of an oval brush bound with 
brass, and having its center well filled with bristles. The latter is 
a new and certainly very desirable feature, as no accumulation of 
dirt or varnish gum can find a resting place. The bristles are of 
the best quality, possessing all the desired elasticity, and appear to 
be more firmly held in place than is the case with many oval brushes 
we have used. The bristles are evenly distributed throughout the 
brush, and are not compressed into a solid ring or ferrule, around 
a so-called reservoir for varnish or paint in the center of the brush. 
These reservoirs have never been a success, and the absence of 
one in *' The King" leads us to particularly admire it, for our ex- 
perience teaches us that a brush with a solid bristle center will 
carry varnish better and keep in better order than one having a 
central space or reservoir. Besides this, such a brush will wear 
more evenly. The brush is particularly adapted for varnishing 
large panels or gears, and well merits a trial by varnishers." 

F. B. Gardner. 

TO CLEANSE A PENCIL FROM HARD PAINT. 

To soften a sable or camel's-hair striping pencil when it has been 
allowed to dry up hard with paint, put some turpentine into a 
shallow dish, and set it on fire. Let it burn for a minute until the 
spirits are hot, then smother the flame, and work the pencil be- 
tween the fingers, dipping it frequently into the hot spirits which 
will quickly soften and remove the paint. 



n 

facturers that, in their endeavor to make sales, other manufacturers 
frequently recommend their own goods as being "as good as 
Whitings'." The various attempts made to match our styles and 
imitate our goods, have been silent but strong assurances of the 
excellence of our brushes. 

In the selection of a brush, the consumer needs to be more care- 
ful than in almost an}^ other article. A poor brush is the most per- 
fectly useless thing of which we can think. It not only costs the 
user the price paid for it, but loss of material in which it has been 
used, a spoiled job generally, and lost time and excited temper. 
It is therefore of greatest importance to the consumer to buy only 
from reliable houses who have an established reputation for making 
good brushes, and who are interested in maintaining that reputation. 

Only a few years ago it was thought that perfection had been 
attained, or nearly so, in the process of making, as well as in the 
style and quality, of the leading staple brushes used by painters, 
kalsominers, and masons. This opinion, however, has been 
rapidly changing, until now it is universally acknowledged that 
the principles and methods employed in the manufacture of 



W 



HITINGS 



ATENT 



B 



RUSHES 



are great improvements over all other methods heretofore devised, 
and, taken together, mark the greatest step ever taken in the art 
of brush-making. Their novelty and entire originality have never 
been called in question. 



The Full-Center Patent Paint Brush, 




[Trade Mark.l 

>The original full-center patent has several advantages over the 



12 

PAINTING FLOORS. 

For the covering of floors we should select only that paint which 
contains earthy coloring substances, and no lead, as all paints con- 
taining the latter wear off easily. 

An oil-paint which is easily rubbed off, can safely be considered 
to contain lead. This is generally added because of its density and 
its being more easily applied than most other bases. 

Even varnish that has been prepared with litharge is objec- 
tionable on account of its being too easily worn. 

Two coats of paint should cover a floor nicely, and one coat 
should never be applied before the other is perfectly dry. 

Yellow ochre, mineral paint, or either of the other ochres will be 
found to out-wear lead paint, and no more oil should be used than 
is suflScient to make the paint slightly elastic. 

THE CARE OF ARTISTS' TOOLS. 

To say that the delicate and expensive tools and appliances of 
the shop or studio should be well cared for, is a truth which every 
painter will acknowledge ; but how often we see carelessness and 
neglect instead. Pencils drying up, palettes daubed with patches 
of color, tubes scattered here and there, a broken mahl-stick, a 
dilapidated easel, are far too common sights. It is easy to clean a 
palette at the proper time, to cleanse and grease a pencil so that it 
will be ready for use when needed, to keep one's place of business 
tidy and attractive to the eye of a refined and observant visitor. 
" Keep thy shop, and thy shop will keep thee," is one of the wise 
maxims of prudent Ben. FrankHn ; and he meant that the shop 
should be kept in order, that everything pertaining to it should be 
in perfect condition and instant readiness for use. But if tools are 
left to go to ruin, as they certainly will in an untidy place, an un- 
due proportion of the profits inevitably goes to waste. Order and 
cleanliness go far to promote one's self-respect, and to win the 
confidence and respect of friends and patrons. 

PAINTING MUSLIN. 

Whoever attempts to paint on muslin without the requisite 
knowledge, is likely to make sorry work of it, but the following 
hints, carefully followed, will be sufficient to insure a satisfactory 
job. Stretch the muslin tight and tack it upon any smooth surface, 
such as a wall or partition, and size it carefully with a solution of 
one-fourth starch or paste in three-fourths water, thoroughly mixed, 
letting it remain till nearly dry before beginning the work of letter- 
ing. If paste is used, add a small quantity of glue or glycerine. 
To prepare the paint so that it will not spread or strike through 



old style of manufacture, and especially over brushes having butts 
or disks of wood or other substances inserted within the ferrule, 
but having no mechanical connection with the bristles : — • 

I. It is much stronger ; as much force being used in driving the 
handle as is required in the old method. A very much extended 
surface of the handle is brought in contact with the bristles. The 
butts of the bristles are saturated with the best of brush-maker's 
cement, so that the holding power of both the pressure and cement 




M 



And Soq'H Rl^H lWiLL'-B£Yo[fi9^AV^i?^. 



is proportionately increased. Practically, the bristles and handles 
are grown together. 

2. The hole or bore in the center of the brush, a necessity of the 
old method of manufacture, being entirely obviated, the brush can- 
not "swallow-tail," or wear out in the center, but wears up evenly 
until it is worn out. 

3. It will be noticed that the bristles are evenly distributed 
throughout the brush, and not compressed into a solid ring or shell 
between the handle and ferrule around-a reservoir for paint in the 
center of the brush. Reservoirs have never been a success in other 



14 

the muslin, mix the pigment with carriage rubbing varnish to a 
stiff paste, and dilute with turpentine till it works freely with the 
pencil. Artists' fitches are best for coarse canvas, and hair pencils 
for fine muslin. If black is used, mix it with one-third brown 
japan, and two-thirds varnish, and thin with turpentine as usual, 
to dry with a little gloss. If reds are used put only as much oil in 
them as will prevent their drying too dead or flat. Wetting muslin 
or canvas with clear water will prevent the spreading of the paint 
on the edges of the lettefs, but it is less satisfactory than the 
method given above. 

If the canvas is to be painted all over, it is a good plan to add a 
small quantity of soap to render the paint more flexible. 

BLACKBOARD PAINT. 

The paint for blackboards should have rather a rough surface so 
as to take chalk readily, and to make a good job follow the direc- 
tions given below. Take one quart of shellac varnish, three ounces 
of pulverized pumice stone, four ounces of pulverized rotton stone, 
and four ounces of lampblack ; mix the three last-named ingredi- 
ents, moisten a portion at a time with the varnish, and stir all well 
together. Then add the remainder of the varnish, and it is ready 
for use. One quart will furnish two coats for eighty square feet of 
board, not previously painted. It dries quickly, and the board 
may be used in an hour. 

IMITATION OF STAINED GLASS. 

Stained glass is just now extremely popular, but as the real 
glass is expensive, many imitate it with coloring substances. A 
good imitation may be made by using madder lake for red, perma- 
nent blue or ultramarine for blue, gamboge for yellow, and lake 
and gamboge for orange. These colors are transparent, and 
should be mixed in equal proportions of pale linseed oil, pale var- 
nish and turpentine. The colors to be purchased in collapsible 
tubes are best. First, stripe the glass with black in any desired 
manner to imitate the lead frame of the real article, about three- 
sixteenths of an inch in width ; then put on your colors, making 
each panel different, and using a small sash tool to stipple the 
paint. The addition of a little white-lead will make the colors work 
easier, and render them slightly opaque. 

Diaphanie is the name given to a method of imitating stained 
glass, which is extensively used. It consists in the use of parti-' 
colored transparent paper, which is fixed upon the glass with size, 
and then varnished. 

KALSOMINING. 

To do a good job of kalsomining, one must fully understand the 



kinds of brushes, and have only been tolerated in paint-brusheS 
heretofore from necessity. As a consequence of this peculiarity. 
the brush is a little more mellow than other kinds of brushes, 
allowing a little more elasticity or spring near the ferrule ; and, in 
consequence, will wear up shorter before being laid aside as a * * stub. 

The Patent Open-Center Paint Brush, 




[Trade Mark.] 
This brush is a modification of the original full-center brush, and 
by some considered an improvement. The plug, or section of the 
old-style paint-handle, driven into the center, acts on the principle 
of the wedge, and in the opposite direction from the wedges of the 
handle and thus holds the handle and bristles within the ferrule, 
if possible, more securely. At the same time, the central space 
being very small, the brush retains all, or nearly all, the advan- 
tages of the full-center brush. 

The Combination Patent Brush. 




[Trade Mark.] 
This brush combines the wedge principle of the old-style paint- 



i6 

business. Any one may be able to mix a little size with whiting, 
and daub it over a wall, but to have a correct formula for both size 
and kalsomine is a very different thing. My receipt is the result 
of eighteen years experience, and can be depended upon. It is as 
follows : 

To make size that will neither scale nor rub up under the kal- 
somine, take one pound of good bar soap, one pound of artists* 
white glue, and two pounds of pulveized alum ; dissolve the three 
separately, each in one quart of boiling water ; strain the soap and 
glue into a bucket, and add the alum slowly, so that it will not 
effervesce too much ; then add one quart of clear cold water, and 
the size is ready for use. This should size 500 feet of surface, if 
put on properly. 

To make kalsomine, take 15 pounds of good Paris white, mix it 
up with lukewarm water, then add one-quarter pound artists' white 
glue, dissolved in hot water ; strain through a fine sieve ; dissolve 
one-quarter pound soap in hot water, and one-half pound alum in 
cold water, and add the soap and alum to the white. One coat 
will cover perfectly on either new or whitewashed walls, leaving a 
glossy surface when the size is dry, and a beautiful egg-shell gloss 
to the kalsomine. It is always best to use the proper kalsomine 
brush, although it may be put on with a whitewash brush. 

TO MAKE LIME W^HITEWASH. 

Whitewash that will not rub off can be made by simply adding 
common molasses to the slaked lime. Say one quart of molasses 
to five gallons of whitewash. 

OIL COLORS AND PXATTING FOR ARTISTS IN OIL AND DISTEMPER. 

To produce decorative tints a good share of judgment must be 
exercised, unless the workman has at his disposal the list of tints 
given below, which will not only be found correct, but in sufficient 
variety to cover ordinary demands. 

Taking white-lead as a base, we can produce pale tints of the 
following, in oil : 

Buff. — White, yellow ochre, burnt sienna. 

Blue. — White, Prussian blue. 

Cream. — White, medium chrome yellow. 

Drab. — White, umber, either burnt or raw. 

Fawn. — White, raw sienna, vermilion. 

Lilac. — White, vermilion, ultramarine. 

Lavender. — White, vermilion, Prussian blue. 

Pink. — White, crimson lake. 

Pink. — White, vermilion. 

Pink. — White, Indian red. '^ 



^7 

brush with the principle of our original paint-brush. The base or 
butt, with its pins or wedge-siiaped projections, is enlirely ccparale 
from the handle, and is made with a hole through it of any desired 
shape, to correspond with the shape of the handle which fits intb 
it. As a matter of fact, we use this method mainly in the manu- 
facture of varnish-brushes. 

The objection to the open space in the center is obviated 
by its oval or flat shape, and also by its small size, being 




much smaller than is usual in ordinary varnish-brushes. With- 
out doubt, varnish-brushes made in this way are stronger than 
any others, except some high-cost brushes with which extraordinary 
pains are taken in the manufacture. It is immeasurably stronger 
and superior to varnish-brushes made with a disk or butt inserted 
in the ferrule, but without any patent mechanical connection with 
the bristles. 

Nearly all our varnish-brushes, including the cheapest lines, are 
made under this J)atent, 



^' - 

Peach. — White, vermilion, yellow ochre. 

Salmon. — White,, vermilion and yellow, or yellow ochre. 

Straw. — White, chrome yellow. 

Stone. — White, yellow ochre, umber. 

DEEP TINTS. 

Brown. — White, Prussian blue, Venetian red. 

Brown. — White, purple brown, lake. 

Brown. — White, indigo, yellow ochre, vermilion. 

Chocolate. — White, lake, black, purple brown. 

Green. — White, yellow ochre, indigo. 

Green. — White, sienna, Prussian blue. 

Green. — White, yellow and Prussian blue. 

Green. — White, chrome green. 

Lead Color. — White, black. 

Orange. — White, orange chrome, lake. 

Violet. — White, vermilion, Prussian blue, lake. 

DISTEMPER COLORS. 

The same pigments either as powder colors or prepared ready 
ground in water, may be used as in the examples above given, 
with the following additions. The colors here named are not so 
suitable for oil work. 

TINTS. 

Pink. — White, rose pink. 

Orange. — White, Dutch pink, lake. 

Gray. — White, celestial blue, rose pink. 

Gray. — White, blue, black. 

Straw. — White, Dutch pink. 

Either whiting or dry white-lead may be used as a basis for dis- 
temper tints. 

In addition to the tints there are several varieties of "self colors'* 
or tones, obtainable by admixture with white, viz.: 

Green (sage). — White, Antwerp blue, ochre. 

Green (pea). — White, Brunswick green. 

Green (duck's Qgg). — White, ultramarine, chrome green. 

Green (olive). — White, Oxford ochre, Prussian blue. 

Blue. — White, Antwerp blue. 

Blue. — White, indigo. 

Purple. — White, ultramarine, lake. 

In all cases the proportions must be determined by the require- 
ments of the decorator, and are to be decided by the hangings or 
furniture. The strength or body of each pigment should also be 
taken into account. 



The King Patent Chiseled Varnish-Brush 




This brush is made on our full-center patent ; is brass-bound, and 
the greatest pains taken in the selection of stock and making. It 
now stands at the head of this class of brushes, being especially 
adapted to piano, car and coach wark. 



Patent Full-Center Sash-Tool. 




[Trade Mark.] 

All the merits of the full-center patent are embodied in this 
brush. Without exception, it has given better satisfaction than 
any other sash-tool heretofore manufactured. All of our sash- 
tools will stand the severest tests, and will wear up nearer the fer- 
rule than any other sash-tools manufactured. Dealers and con- 
sumers will please notice that all of our sash-tools, labeled or 
stamped French, are made of pure French bristles ; this is not the 
case with many now in the market stamped French. 

All of our full-center sash-tools a7'e now made with brass ferrules^ 
a great improvement over those made by any other manufacturer. 



fi» 



KEEPING VARXISH BIIUSIIES WHEN NOT IN USE. 
It ma}^ be well enough, where varnish brushes are used fof com- 
mon work, such as house-work or farm implements, to keep them 
suspended in raw linseed oil, but no fine varnishing can be done 
with tools kept in that manner. 

The carriage varnisher would 
make sorry work of it, if his 
brushes were taken from a bath 
of oil when about to varnish a 
job. •* Pitting," "enameling" 
and a dozen other troubles arise 
from having oil or turpentine 
come in contact with the varnish 
brushes, and in no place are 
these of so much consequence 
as in the carriage shop The 
usual method of keeping varnish 
brushes, is to suspend them by 
a wire running through a hole 
in the handle, (as shown In the 
engraving,) within a tight cov- 
ered tin box, so suspended that 
the brush may hang in varnish, 
just above the tin binding. The 
same varnish as that in which 
the brush is commonly used is 
considered the best for that pur- 
pose, so that no foreign sub- 
stance will become incorporated 
w4th that put upon the work. 
There are several good brush-keepers in market, and these are 
quite inexpensive. The best and cheapest liquid in which to keep 
brushes suspended is carriage finishing varnish made with no diyer 
in it. Any varnish manufacturer will supply this, and it will 
not skin over or thicken in a very long time. 

Varnish brushes should never be rinsed in oil or turpentine, but 
if by accident they get dirty, work them out on some unimportant 
panel. If the brush has become dirty by an unlucky fall to the 
floor, hold it at an angle towards the floor, in such a manner that 
when turpentine is poured upon it, the spirits will not run up into 
the hilt of the brush, but will fliow off, carrying with it the greater 
part of the dirt. After rinsing in this manner, strike the tin bind- 
ing several sharp raps upon some hard substance, when the recoil 
or spring of the hair will cleanse the brush of turpentine. Then 
rinse in varnish. 

In case of a tin-handled brush ; care should be taken not to per- 




at 



Patent Ova! Chiseled Sash-TooL 




Like all our lines of sash-tools, this is made on our full-center 
patent, and is entirely unique. It is made of pure French bristles, 
and supplies a demand which has never before been satisfied. 



The Patent Dictator and Sterling* 
Whitewash-Brushes. 




These brushes possess two entirely new features, bolh practically 
useful, which are applied to the regular leather-bound whitewash- 
brushes. The open space in the block or head of the brush serves 
as a temporary receptacle for the whitewash or other liquid, and 
therefore renders the brush less likely to leak or drip when being 
used ; while, upon dipping the brush, or reversing its position, the 
liquid will readily run out. The other original feature adds greatly 



forate the tin, for by so doing there is a liability that varnish or oil 
will thus be admitted to the cement and soften it, thereby causing 
the hairs to fall out. 

If preferred, a string may be tied around the handle, having a 
loop to catch the suspending wire. 

PAINTING A CARRIAGE OR HEARSE WHITE. 

There seems to be a misunderstanding in regard to the varnish 
which is used over white work, many relying upon white damar 
varnish in order to keep the pure white color ; others, with the 
knowledge that damar varnish is not durable, thin down a light- 
colored carriage varnish with turpentine, applying a thin coat for 
the same purpose. Now it has been demonstrated that a white 
job will look better, wear longer, and give better satisfaction when 
finished in egg-shell gloss, and this done in the following manner : 
After the job has been colored with one or more coats of pure 
white-lead, mix and apply as color-and-varnish, either pure white 
lead or dry zinc in hard drying varnish : give ample time for dry- 
ing ; then rub down with fine pumice-stone, and apply a second 
coat of the same, adding a little more varnish, but not enough to 
affect the purity of the color. When dry, rub lightly with pulver- 
ized pumice-stone, wash clean, and then rub every part nicely with 
pulverized rotton stone, being careful to have every part of the 
same luster. This gives an egg-shell finish to the surface. 

If striping or ornamenting is required, this may now be put on, 
and pencil-varnished over when dry. 

RUBBING VARNISH COATS. 

There is a certain amount of assimilation between coats of var- 
nish, sufficient to cause them to adhere closely one to the other, 
providing the proper harmony exists in the varnishes, but this is 
not perceptible to the rubber, and he may easily rub through one, 
two or three coats and be able to see each separate layer. Care 
should ahvays be taken not to rub through a coat of varnish, but 
no very great damage will be done if by accident or want of care 
the under-coats are laid bare except in the last rubbing, just before 
the finishing coat is applied, when the spot or spots will be liable 
to show with the carriage in certain positions. 

LITTLE THINGS. 

There are a thousand and one little things connected with the 
painting business that are seldom, if ever, spoken of, or even 
thought of, by the majority of painters ; though if a person will 
take the trouble to examine closely, he will find that it is these 



.23 

to the strength of the brush: the nails being clinched on the in- 
side, can never pull out or start. These brushes are in every 
respect first-class, in addition to the above peculiarities. 



Whiting's Patent Brass-bound Brushes. 

The success that has attended the manufacture of these ' brushes 
has been unprecedented, and this fact speaks louder in their praise 
than anything that can be said. Brass, as a binding for the better 
and best grades of flat brushes, is fast superseding leather and the 
cheaper metals zinc and tin, which rust or corrode when used. 



The King Patent Whitewash-Brush. 



These brushes are pronounced by practical workmen in this city 
and elsewhere to be the best brushes they ever used.^ They are a 
great improvement over the leather-bound brushes, and in strength 
and durability they are unequaled. We are also making this line 
with the peculiar features of the Patent Dictator and Sterling 
Whitewash described above, thus combining in it all the advantages 
of both kinds of brushes. When thus constructed, it becomes an 
object of admiration for the mechanical skill required to make it.. 



littk things which go to make up the first-class finish, which does 
credit to the skillful workman. The painter who overlooks them 
will turn out work with a superficial finish, that wnll not bear close 
inspection ; while he wonders that his work is inferior to that of 
his more painstaking neighbor across the street. 

STAINING OAK GRAINING. 

It is sometimes desirable to change the color of oak or other 
light-colored wood by graining, to something approaching the color 
of black-walnut, and to do this quickly and at a trifling expense, 
apply a thin coating of enameled leather dressing, and a beautiful 
black walnut color will result. 

In staining black-walnut or any dark colored woods to a mahog- 
any color, put half an ounce of dragon's-blood into two ounces of 
good alcohol and shake occasionally : when dissolved put as much 
of this stain into alcohol as will make the w^ood the color desired, 
and go over it with a brush. For fine and other light-colored woods 
add a little burnt umber to the above stain. To stain rosewood, 
apply to any light-colored wood a coat of asphaltum, thinned with 
turpentine, and when dry stain with dragon's-blood, but there will 
be no grain, merely the color. 

If a grain is desired, mix lampblack with beer, and rub with a 
sponge before finishing with varnish. 

HOW TO REMOVE VARNISH WITHOUT HURTING THE TAINT. 

There are several ways of removing varnish from a carriage, 
and if the operator uses care and judgment in the work he may 
successfully remove the varnish without injury to the paint surface ; 
but it often occurs that want of care destroys the paint, and neces- 
sitates a full repainting. The materials used for the purpose are, in 
one case, simply spirits of ammonia or hartshorn, vvhich if brushed 
upon the varnish soon acts upon the oil and softens it so that it 
may be scraped or rubbed off easily ; and in the second strong 
potash water, or 13-6, but extreme care must be taken that it does 
not attack the paint, and besides this, lye is difficult to remove so 
that new varnish may be put on, for the least particle left upon the 
surface will injure the finish. Another is a mixture of carbolic 
acid one pint ; creosote one ounce, turpentine a half pint. This 
may be applied to the work with a soft camel's hair brush which it 
will not injure in the least, and its action upon v^arnish is similar to 
that of spirits of ammonia. 

FILLING OLD CRACKS IN PAINT. 

The impracticability of effectively concealing the cracks in a 
painted surface by the application of putty has been fully demon- 



25 



The King Patent Wall Paint or Paste Eirusft^ 




^3 



This brush is made on the same principle as the" Patent KTing*- 
Whitewash-Brush, and has the same advantages over the leather- 
bound brush. 

All of our brass-bound brushes are bound with the best quality 
of that metal. Many brushes of other manufacturers, now on the 
market, are bound with lacquered tin, or zinc, which has the ap- 
pearance of brass but is of poor service. 



We call particular attention to the extended line which we make 
of brushes for Artists', Decorators' and fine Varnishers' use, cover- 
ing everything that is required. Our prices are the lowest, con- 
sistent with best quality goods. We make a specialty of Quill 
Pencils for Druggists' and Artists' use, also all kinds for Lettering: 
and Striping. Our line of Bristle and Badger Shaving Brushes I's- 
complete, and prices on them, as everything else, guaranteed satis- 
factory. 

In no kind of brushes is it so necessary for the buyer to be in* 



26 

fetrated by many of the best carriage pamters in the country, and 
yet there are those who believe that they can do such work success- 
fully. There have been several *' crack-fillers" or roughstuffs put 
in the market, which, it was said would fill up the cracks in an old 
carriage body, so that they would not again appear, but I have yet 
to see a job done with any of; these nostrums that will not show 
the old cracks in time. The best way to get rid of old cracks is to 
scrape, burn, or otherwise remove the old paint, then re-paint in 
the same manner as if it were a new job. 

GILDING ON GLASS. 

The size for this work is quite different from that used upon 
other surfaces. Varnish, oil, etc., cai not be used. Procure some 
Russian isinglass, a few shreds of which, say what could be taken 
in a pinch between two fingers and thumb, being sufficient to make 
a quart of size. Put the isinglass into a clean vessel, and pour 
upon it a quart of boiling water, allow it to boil until the isinglass 
is all dissolved, and it will be ready for use. Next carefully clean 
the glass with whiting and water, rubbing dry with tissue paper. 
If the glass is not well cleansed from grease, the size will crawl, 
and poor work result. Next, paint upon the front of the glass the 
lettering desired with oily black. This need not be carefully done, 
the object being simply to make a guide in forming the letters on 
the back of the glass. When the guide letters are made as desiried, 
take a 2^ inch camel's-hair mottler and flow plentifully the thin 
watery size upon the inside or back of the glass, passing the brush 
over the back of the lines of letters and doing but a portion at a 
time. No fear need be had of its running down the glass upon 
painted work, as it is perfectly harmless. Begin immediately to 
lay the gold, having a gilder's cushion on which to cut the gold to a 
proper size, then lift and carry the cut pieces of leaf to the glass, 
on which the size is wet, with a tip (a piece ot card-board furnished 
with a thin layer of camel's-hair on one edge,) until all the lettering 
is covered on the back with gold. Have no care about laying the 
gold to exactly cover the letter, in fact it should be laid on to cover 
more than just the limits of the black paint in front. Continue 
this until all the black is covered, putting on size and laying the 
leaf continuously, but never once touching "S-ny part already gilded. 
If the size be quite warm the gold will be more brilliant, but care 
must be taken that it is not too hot, or the glass may be fractured. 
Allow a few hours for drying, and then, with a wad of soft cotton 
gently wipe over the gold to remove those pieces not fastened down 
by the size. If the gilding does not appear solid, or there are 
many broken places, a second coat may be given in the same man- 
ner as at first, but great care must be taken not to pass the brush 
over any part but once, or the first coating will be disturbed. 



27 



fluenced by the reliability of the manufacturer as when buying the 
finer kinds for Artists* use, and use in the higher grades of colors 
and varnishes. When buying these kinds of brushes and pencils 
never buy low-priced ones of unknown manufacturers, but insist 
on having those made by some manufacturer who has a reputation 
for making first-class goods. You will save money by so doing, 
and your work will please your patrons. In these goods, the hair 
from which they are made is expensive, and the labor also. A 



// 



y 



THPUCjK M^ oeaRiy Mf\Y PAY fo^ HIS riJ^ 
foR hK'S liSlI^q H«S M^S^^^^^S^ BRUSHES 
T^AT ys/^R^ MADC BYWkiTIN&ampSoH 
ANdK^DoUBTHVwjUTM^N s^^H«s YoU^Y 



small percentage of inferior hair can be used to adulterate them, 
and cheapen them greatly, and when this cheap material is made 
up by a cheap workman, the brush or pencil is perfectly worthless. 
This is the cause of so-called Sables having no elasticity, hairs twist- 
ing and curling, and the brush with a ragged end, or never coming 
to a point ; flowing brushes that leave hairs in every job, if they 
do not swell up or twist, and the many other faults that m.ay 
develop in a poor brush. Yet, these brushes when new have the 
appearance of being all right, and the defects are so carefully con- 



28 

"When this is dry, take a mixture of lampblack and varnish, or as- 
phaltum, and paint the letters on the gold, being guided by those 
painted in black on the front. Let all dry nicely, then with clean 
water and a soft sponge wash off all superfluous gold, wipe off the 
black letters on the front and you will find a nicely gilded letter, 
which you can now shade up on the back of the glass with colors 
to suit. When all is done and dry, the extreme edges of the shade 
may be cut true by holding a straight-edge over them, and scratch- 
ing with a knife. 

Another plan of laying out the work, which is easier to many, is 
:to make a pounce pattern, and pounce it backwards on the gold. 

Nickel leaf is now much used instead of gold, It being much less 
^expensive, and far superior to silver leaf, in holding its brilliancy. 

GOOD RULES IF WELL FOLLOWED. 

1. Let the ground or surface to be painted be, at the start, per- 
fectly clean, smooth and well dried. 

2. Have all colors well ground and duly mixed. 

3. Do not mix much more nor any less paint than is necessary 
for immediate use. 

4. Keep all paints well stirred while the work is going on. 

5. Have your paint of the proper thickness, and lay it on a. 
evenly as possible. 

6. Do not apply a coat of paint until the preceding one is prop- 
erly dry. 

7. Do not, if possible, employ a light color over a darker one. 

8. Do not add dryers to colors long before they are used. 

9. Avoid using an excess of dryers. 

10. Always keep pigments in a dry place, as dampness will af- 
fect the shade of colors, and also their drying qualities. 

11. Never use a paint or varnish brush as a duster. 

12. Never keep new paint or varnish brushes in a warm, dry 
-place, as the best made ones are liable to shrink and come apart. 

13. Never put a new brush in newly-slaked lime, as it always 
destroys the bristles. 

14. Never use the shammy as a towel, to dry the hands and face 
upon. 

15. Don't wash your hands in the pail used in rubbing with 
pumice, or for washing bodies and gears. 

16. Never leave oily rags lying around the shop, they are liable 
to spontaneous combustion. 

BRUSHES FOR CARRIAGE PAINTERS. 

For color coats, such as black, brown, green, etc., either on 
i).odie-S or ^ears., use the double-thick camel's-hair blender or mot- 



29 

cealed, that it takes an expert to discover them. We manufacture 
all kinds of brushes and pencils for Artists', Decorators', and fine 
Varnishers' use, and the many purposes requiring excellence in 
every particular. We can suit the most exacting as to quality, 
and at the lowest possible prices. 

The high quality of our goods-, which is vouched for bj' the imi- 
tations of others, will be maintained, and the improvements which 
we have made will make our goods more attractive than ever, and 
ruarantee that they will continue to be the most popular and sal- 
able Brushes made. In consequence of the heavy stock of raw 
material and manufactured goods which we carry, and our exten- 
sive facilities for manufacturing, we can fill all orders promptly,, 
and save you the annoyance of delays. 

The quality and style of these brushes, like all the other lines 
previously introduced to the trade, must speak for themselves, and 
be their owm eulogy. 

Every brush of every description warranted. 



BEWARE OF IMITATIONS, 



Frojii the Oil, Paint and Di^tig Reporter^ Xeiv- Yorh^ J^^^- ^^, 1882^ 

Messrs. John L. Whiting & Son, Boston, enjoy the reputation 
of making the most popular lines of brushes in this country, and 
their goods are almost sure to be found in every well-regulated store 
keeping painters' and artists' supplies. Two lines of sash tools 
lately introduced by Messrs. J. L. Whiting & Son, called the King 
and Chisel, supply a demand that has long been felt by painters 
and decorators. The King sash is a* round brush, made from nice, 
stiff bristles, of such quality that it can be used in water colors, or 
any other, and retain its shape. The Chisel sash is oval shape, 
broken in ready for use, and works perfectly in paint or varnish. 
The points of superiority in ail the lines that they make are so ap- 
parent that their goods must be easy selling, and please both seller 
and consumer. 



30 

tier. For lakes, vermilion or glazing coats, use the badger-hair 
flowing brush. It is superior to the fitch-hair or the camel's-hair 
brush, and a more even coating can be produced with it, showing 
neither laps nor streaks. For varnish on gears or on large panels 
there is nothing better than the *' pearl flowing" varnish brush; 
this brush is made of all white French bristles, and carries or spreads 
varnish on the largest panels with the greatest ease. The chisel- 
pointed bristle brushes, or the badger-hair tools may be used to 
advantage on any work with varnish, glazing or color-and-varnish. 
For ordinary painting, such as lead, roughstuff, etc., use either the 
round or oval varnish brush, our preference being for the latter, as 
they lay paint more evenly and wear better, while the common 
paint-brush of the house-painter is not so well adapted to the wants 
of the carriage painter. 

HOW TO RE-VARNISH FURNITURE. 

When furniture requires re-varnishing, it should first be well 
washed with strong soda water to remove every particle of grease. 
If the old varnish is badly cracked, it will be best to scrape it all 
off, for the cracks can never be filled or covered so as not to show 
again. Washing over with spirits of ammonia, will soften the 
varnish, and it may then be removed easily. If the ammonia be 
used, scrape off, wash clean with water, then rinse it well with 
vinegar. Next, take No, i]4, sandpaper and rub the wood well 
until it is quite smooth. Then apply a coat of No. i furniture 
varnish as evenly as possible, and when that is dry, rub off the 
gloss with a bunch of curled hair, dust clean, and apply a flowing 
coat of piano flowing varnish. Old furniture may thus be made to 
look like new at a trifling expense, 

SEVERAL WAYS OF MIXING LAKE. 

First, procure one of the many grades of dry color to be found at 
the dealers', among which I can recommend purple lake, carmine 
lake, and madder lake. Pulverize the lumps quite fine upon the 
stone ; then mix the powder to a stiff dough w^ith turpentine 07tly ; 
put the mass in the mill and add just enough brown japan to 
liquefy it and cause it to run through the mill easily. It may be 
necessary in order to make the' paint fine to run it through the mill 
more than once. When ground fine, stir well in the cup, and it is 
an excellent plan to pour some into a clean cup or bottle and put 
it away safely for use in making color-and-varnish. The remainder 
should then have a little raw linseed oil, say a tablespoonful to a 
pint of paint added to cause it to dry w4th a subdued gloss, called 
"egg-shell gloss," upon the work. This feature may be tested 
easily and quickly by putting a thin coating of paint upon the 



31 

thumb-nail and then blowing upon it, If the paint appears to dry 
too " dead" add a few drops more of oil ; if too glossy a very little 
turpentine, but it is best not to use too much oil the first time. 
The addition of turpentine to the dry color on the stone in the first 
instance is not a usual proceeding among painters, but a long ex- 
perience and careful noting of results has given this method the 
preference. The reason or theory of it is, that the turpentine 
being very penetrating, it soaks into each tiny grain of pigment, 
softening it and rendering the paint finer than when oil or japan 
are used. With fine colors such as vermilion, chrome green, ultra- 
marine, etc., it is not of so much importance. The lakes thus 
mixed may be spread upon a black or brown ground ; I prefer the 
latter. Mix Indian-red and lampblack to form a medium shade of 
brown. Have this ground in color, and not in color-and-varnish 
as in glazing, for it is co/or and not a glazing that you wish to apply 
next. Lay the lake on carefully with a camel's-hair brush, and 
two coats, twelve hours apart, should be sufficient. When the 
color is dry, prepare some color-and-varnish, by mixing the dead 
color which was previously put away in a bottle or cup, with a 
little carriage rubbing varnish, stir well, and apply with a badger- 
hair brush. When dry, lightly rub with pulverized pumice-stone 
and finish as usual, always bearing in mind that to preserve the 
beauty of a delicate color too much clear varnish must not be used 
over it. 

2. Prepare a ground of dark brown with Indian-red and black ; 
get it into color-and-varnish and rub down smooth. Then grind a 
small quantity of either of the lakes in carriage rubbing varnish to 
form a glazing , apply two coats of this over the brown ground. 
and finish as usual. 

3. On a dark-brown ground, glaze with carmine. This latter 
method of making a lake color is practiced extensively in New- 
York, and is one of the cheapest and least troublesome ways of 
doing work. 

To change the tone of a lake, the two pigments, ultramarine and 
carmine, are ever ready. Use the former to darken, the latter to 
lighten, or by mixing the two together a purple or deep lake color 
may be produced. 

French carmine No. 40 is considered the best brand for the car- 
riage painter's use, and is obtained from the dealer in broken lumps 
or powder. 

Lake mixed with white gives beautiful rose tints, or when blue 
is added, purple tints. 

STENCILING. 

Ornamental painting on walls and ceilings in imitation of fresco 
^ork is very fashionable, and very easily done, as the stencii pat- 
terns can be procured at almost any supply store at a trifling ex- 



3i2 

f)enSfe. After the wall has been kalsdriiined, by f)iitting 6ri a bof- 
der or panel ornament in colors, which adds much to the appear- 
ance of the room, a very handsome finish may be made. The 
colors for such work may be purchased at about the following 
rates : 

Raw umber, i8 cts. per lb. 

Burnt umber, i8 cts. per lb. 

Raw sienna, i8 cts. per lb. 

Burnt sienna, t8 cts. per lb. 

Vandyke brown, 20 cts. per lb. 

Drop black, 20 cts. per lb. 

Venetian red, 15 cts. per lb. 

French ochre, 10 cts. per lb. 

Chrome yellow, 35 cts. per lb. 

Silk green, • -35 cts. per lb. 

Indian red, 25 cts. per lb. 

These colors are ground In size, and are ready for immediate 
use. The ornamentation of a room may be thus carried out by a 
novice, all that is necessary being care in the handling of the stencil 
brush. It is a good plan to have a piece of pasteboard at hand on 
which to rub the brush, to prevent so much color being applied, as 
to make the edges of the stencil thick or ragged. If a stencil 
pattern cannot be easily procured, one can be made in the follow- 
ing manner : 

Fold a sheet of writing paper, allowing the fold to form the 
center of the pattern, then sketch out any desired design making 
provision for bars to hold the several parts together. This done, 
lay the paper upon a piece of glass, and with a sharp knife cut out 
the pattern. The glass will be found to give a smooth edge, and 
will not dull the knife. Stencils should be varnished with shellac 
varnish, to prevent the absorption of moisture when in use, and to 
make them easv to clean. 

MIXING STRIPING COLORS. 

For pure white striping many use flake or Kremnitz white in 
tubes, but I have always found tube colors to be short, that is, they 
would not flow readily from the pencil. A short paint may be 
known by its dropping in lumps or patches from the palette-knife 
when lifted and held over the cup, and a flowing paint is known 
by its running in a continuous stream when thus lifted from the 
vessel containing it.% Short paint w4ll spread nicely with a brush 
but it does not answer so well for striping. To prove this, mix 
some ultramarine blue with pure raw linseed oil, then add a few 
drops of water and mix well on the stone with the palette-knife. 
It will be found to thicken and possess the property of shortness 
spoken of, and although one may letter or ornament with it, he 



33 

cannot draw a good Ime of striping. Therefore, it is well to use 
varnish, japan and turpentine in such proportions that the paint 
will flow readily from the pencil. 

Striping color should be ground as fine as possible, and where a 
good stone and muller is at hand the striper need never complain 
of coarse paint, for a little labor is all that is necessary. 

White may be made of dry lead or zinc, but in every case where 
a pure white is desired, a very little lampblack should be mixed 
with it. This makes the white cover more solidly, and prevents all 
show of laps, where connections are made, and gives a whiter job. 

Red striping is best done with light English vermilion, the deep 
vermilion being a poor covering color. Vermilion should be mixed 
with quick drying varnish and turpentine, for if mixed with oil it 
will quickly turn to an Indian red. Most striping on fine carriages 
when done with vermilion, is glazed over with carmine to enrich 
the color and take off its raw appearance. 

Blue striping is generally done by the use of Prussian blue and 
white, making a light blue, then the stripes are glazed over with 
ultramarine, as in the case of vermilion. 

Green striping may be done with pure chrome, or chrome green 
and white. Green is a very fashionable color on heavy work, 
although extensively used on every grade from a sulky to a farm 
wagon. It may be mixed with japan, turpentine and oil, to work 
easily under the pencil. 

PRIMROSE YELLOW. 

Primrose yellow is a term applied by English painters to the 
pale yellow tint of the English primrose. The color may be pro- 
duced by adding a little white to lemon yellow or king's yellow. 
If used as a striping, it is necessary to double coat it. For it 
has but little body, and unless this is done the laps or connec- 
tions will show plainly. Primrose yellow is a very fashionable 
color in England, and seems to be growing in favor in this country. 

TO MAKE A NICE SIGN. 

Take a piece of new zinc or tin of the requisite size, and if not 
bright and smooth, polish it with whiting or rotten-stone and 
water. Then give the face side a thin coating of French shellac 
varnish, or white copal varnish (this to prevent oxidation of the 
metal,) and let dry. Then carefully lay out the letters, and " cut 
them in," i. e. paint all outside, leaving the letters, which will give 
the appearance of silver. The paint may be color, or it may be 
smalt ; the latter, if neatly done, makes a fine finish. 

If the polished tin be lacquered with gold lacquer a beautiful 
gold letter vvill result. A border one-half inch in width, at least, 
should be made around the edge of the tin. ' 



34 



HOW TO USE RUBBING-STONE. 



Although to the professional painter it may seem needless to 
attempt to tell how to use rubbing stone, a few suggestions or 
general directions may prove acceptable to the novice or amateur. 

The stone having been chosen, the pieces should be cut with an 
old saw, and a half-round file, into various convenient shapes, 
such as square, oval, triangular, concave and convex, to approxi- 
mate the shape of the panels and moldings on which it is to be 
used. When this has been done, have a pail of water and a soft 
sponge at hand to keep the surface well wet while the rubbing is 
going on. The stone should fit nicely to the surface, and be 
moved either in circles as in polishing, or lengthwise with the 
panel, pressing firmly upon it, but not too hard, for that would 
rag or tear up the paint. Plenty of water should be used, to pre- 
vent heating. One reason why machinery cannot be used in rub- 
bing is, that the'centrifugal force drives out the water from under 
the stone, and thus leads to heating. 

As the work continues, the stone should be pressed more and 
more lightly, and more water should be used as the painter ap- 
proaches the completion of his work, in order to decrease the 
number of small scratches made by the stone. 

When rubbing a molded panel, the molding should be first done, 
so that when the panel is rubbed no groove shall be formed near 
the edge of the molding, which will often happen if the panel is 
rubbed before the molding. 

When all is finished, wash off clean, and dry well with a shammy ; 
then stand the job aside until the next day for the moisture to dry 
out. Many troubles occur from coating over a rubbed surface 
which is not thoroughly dry, and great care should therefore be 
taken in this particular. 

PREPARING A JOB. 

Joiners' work, and especially pine, should be well cleaned with 
glass paper and by scraping until all roughness is removed. This 
is the joiners' duty, but it is often neglected, and the painter must 
attend to it. It is sometimes advisable to raise the grain of rough 
spots by wetting with a sponge and warm water, and then smooth- 
ing down again with glass paper, before polishing with wax, 
varnish or hard-oil finish, and the good appearance of the work 
will be in proportion to the time and labor expended in the process. 

Knots and other places where the turpentine contained in the 
wood oozes out, should be treated with a composition made of red- 
lead, size and turpentine, to which a small quantity of linseed oil 
is sometimes added. This prevents the knots from being seen 
through the paint. Shellac varnish is also used for the sam.e pur- 
pose, but the composition is to be preferred, 



35 

Great care must also be taken in preparing the surface of wood 
for graining, as every defect is rendered more distinctly visible 
under a delicate graining than when covered by successive coats 
of paint. And, moreover, work thoroughly prepared will not only 
look better, but the color will not be as apt to chip and peel off, as 
when the surface is not properly leveled. 

THE USE OF VARNISH BY HOUSE PAINTERS. 

Probably not one house-painter in a hundred can do a good job 
of varnishing, for the reason that he invariably dilutes his varnish 
w4th oil or turpentine, indicating either an inferior quality of 
varnish, or ignorance in its use. All good copal varnish, such as 
carriage rubbing and finishing from reputable makers, is supplied 
with all the turpentine it requires before leaving the factory, and 
this is added to the melted gum and oil, while yet quite hot. If 
then turpentine or oil is added to varnish when cold, there is a 
want of assimilation between the ingredients, and an undue amount 
of oil and gum appears in one place, as compared with another. 
This tampering with varnish is unjust to the maker, who prepares 
his goods by a correct formula, and it frequently occurs that such 
work has to be done over. 

The carriage-painter could never turn from his hand such mirror- 
like surfaces as those we see, if he were to dilute his varnish. He 
knows how to apply it as poured from the can, and in order to do 
good work the house-painter must learn to do the same. 

TO STAIN WOOD IN IMITATION OF EBONY. 

Wash the wood repeatedly with a solution of sulphate of iron ; 
let dry, and then apply a hot decoction of logwood and nutgalls two 
or three times. When this is dry wipe it with a wet sponge, and 
when dry again polish with oil. 

PAINTING CARVED SIGNS. 

I have been repeatedly asked by house painters how to paint 
sign work, particularly carved signs, in the same manner that a 
carriage painter would do the work. As there is a great difference 
between the methods employed by the house and sign painter, 
and the carriage painter, the former using oil to a great extent, 
the latter but a trifling amount, the house and sign painter's method 
could not be carried out successfully. 

Carved signs, i. e. signs in which the lettering is sunken, the 
letters being gilded and the flat surface painted in black or colors, 
are in great demand, and as the surface must be in what is known 
as egg-shell gloss, and perfectly smooth, like marble, the carriage 
painter's mode of procedure is considered best. 



3^> 

The sign board having been nicely carved and smoothed, the 
priming is first in order. Take white-lead and mix it quite thin 
with pure raw linseed oil, then add a very little brown japan to 
hasten the drying, and spread it Vvith a stiff bristle brush so that 
it may be well rubbed into the grain of the wood. Allow 24 hours 
for drying, then mix keg lead one part, dry lead one part, w^ith 
brown japan and turpentine to a stiff paste, just so that it can be 
spread with a brush, and coat the board with this, doing every 
part, the depressed letters as well as the flat surface. 

Then immediately go over it with a broad-bladed putty knife 
and plaster it into the pores of the wood, scraping off all super- 
fluous paint, and setting aside for drying, which will take 12 hours 
at least. When dry, give the whole a good rubbing with No. 2 
sandpaper, dust off and apply a coat of color. Ivory black may 
be mixed as already spoken of in these pages, or it may be pur- 
chased ready mixed in japan, no oil. Lay the black on with a 
camel's-hair brush, so that it is free from streaks and brush marks, 
and the coating should not be too heavy. This paint should dry 
hard in an hour, when a second coat of the same may be put on. 
When dry, a coat of color-and-varnish should follow, giving 24 
hours for drying, then rub the surface with pulverized pumice 
stone and water, until it is quite smooth. A second coat of color- 
and-varnish may be given if desired to make an extra job. 

The surface being rubbed till perfectly smooth, lay on a coat of 
carriage finishing varnish, and let dry. Then rub down first with 
pumice stone and w^ater, and then with pumice stone and oil, until 
a nice egg-shell gloss is obtained. 

Follow the directions given for preventing the gold from adher- 
ing, as given on another page of this book, and proceed to gild the 
carved letters and possibly the beveled edge of the sign board, 
using oil size as usual with gold signs. When the gilding is done, 
w^ash the sign well with cold water, and a very handsome and durable 
job may be expected. 

IVORY BLACK. 

Those who purchase prepared black with the expectation of 
getting an article ready for spreading with the brush, often find the 
paint is too thick and requires thinning to a proper consistency for 
the work in hand, and are at a loss to know what to do with it, 
whether to add oil, turpentine, varnish or japan ; and in some 
cases the paint is spoiled by the vehicle used to dilute it. 

To work prepared black properly, open the can of paint and take 
out into a clean cup the amount likely to be used, adding just 
enough turpentine to soften it or thin it to a cream-like consistency, 
stirring it well meanwhile with a flattened stick or putty -knife. Now, 
take up a drop or two and apply it to the thumb-nail of the left 
hand, brushing it down level and thin with the finger : blow upon 



It to hasten evaporation, and in a second it will appear quite dry^ 
and dead or flat.' This is called quick color and is suitable for any 
hurried job, as it will dry in five minutes ; but to make it perfect 
for coloring the panels of a carriage or for gears, add to the paint 
a very small quantity of raw linseed oil — say a tablespoonful of oil 
to a pint of paint — stir all well together, and try the thumb-nail 
test. The color should now dry with a subdued gloss, not so dead 
as before, and if so it is in proper condition for laying on.. Be 
careful in the use of oil in color ; too much is worse than none at 
all, while the proper quantity adds durability to the work, and 
causes it to spread easily over any surface. Cam^el's-hair brushes 
are best for laying blacks or fine colors. 

PAINTING ON ZINC. 

It is frequently the case where signs, or the panels of business 
wagons made of zinc are painted without due preparation, that the 
paint will chip off or crack. To make a good job, procure some 
muriatic acid, of full strength, and drop into it some pieces of zinc, 
until the acid stops effervescing. Then add an equal quantity of 
water, and with a sponge tied to a stick, sw^ab over every part of 
the zinc to be painted. This roughens the surface, and takes off 
that sort of greasiness which prevents the paint from sticking. 
Allow the acid to remain a short time, then wash it over with 
water or vinegar, dry off, and paint as usual. This is an excellent 
plan, where expensive lettering and ornamental work is to be done,, 
as it effectually prevents the paint from chipping off. 

LETTERING AND SCROLLING PENCILS. 

Lettering pencils are usually made of sable, ox or camel's hair.. 
The hair of a lettering pencil should not be over one inch long, 
and many prefer it even shorter. Black sable-hair pencils are 
best, and consequently the most expensive, owing to the scarcity 
of the hair from which they are made, it being the tip of the tail of 
the Russian brown sable, an animal of the weasel family. These 
pencils are made w4th quill or tin binding, but I prefer the quill- 
bound pencil, as there is less liability of the hairs being cut than 
with the tin. ' The camel's-hair pencils are quite inexpensive, and 
except for heavy colors they seem to answer all requirements, but 
with these they soon lose their elasticity. Ox-hair pencils are now 
extensively used by manufacturers of cheap furniture and to some 
extent for other purposes. As their sales are constantly increasing 
it is fair to suppose that they are giving satisfaction. But for fine 
wagon work they are rather too stiff and unyielding. The lettering 
pencil is used for laying size, or color in scrolling, but for shading 
a scroll a pencil with shorter hair is much to be preferred, AH 



35 

lettering and scrolling pencils should be kept well greased when 
not in use and be put away in a box so that the hair! will noTge" 
bent, for no matter ,f by drawing the hairs between the finger and 
a warm iron they appear to be straightened, the pencil will never 
agam work as well. A good sable%encil 'will last with proper 
hJr\ r7 y^^--^ T daily use. Pencils are oftener injured 
by carelessly nnsmg and greasing them, than by actual use,^and 

SXTurhaldHng.""^"'^-- ''^' ^ ^°°^ P-"' - ^'-^^ --*y 

HOME-MADE TRANSFER ORNAMENTS. 

Monograms and other ornaments may be prepared in advance 
and frequently much time saved in the process of ornamentation' 
F,rs procure some soft paper, such as lithographs are generaUy 
printed upon. Coat one side of this paper with a mucilale made 
by dissolving gum arable in water, until a thick glossy sfrfaTe is 
obtained. Next paint upon the gummed surface^ any monogram 

nnn. w\ ^T'^"^] '" '^^ '^™^ '"^""^^ ^« « doing it upon^ 
panel. When the colors are dry, cut off the piece of paper con- 





fon J ^h ^'""^"^''"'l''^^'"^ '"Shtly dampened another por- 
iJ ",ni gummed surface, lay the ornament face down upon 

It and press firmly. Allow it to remain a while to drv. then 
dampen the back until the paper is thoroughly wet, and iff kas 
you would a transfer ornament. The painting will now be found 

rnHentf"'' T^ "^^ '"'.^ """-^ ^^ " ■' ^^^^« a^decakomanie to be 
nnr Z^^"'"' 'T^' '" """ '^"« ™anner. This plan is frequently 
pursued where the carriage is in use and cannot be spared long 
enough to have the painting done in the usual manner. ^ 

Good brushes cannot be bought in regular course of trade with- 
out costing more than inferior grades. The raw material for good 
brushes costs more than the finished poor goods. Always buy the 
Whmng brushes, and you will get the best goods at the lowest 



39 
From the Oil and Drug Reporter, New-York, Dec. 20th, 1882. 

If Messrs. John L. Whiting & Son, of Boston, have not adopted 
•the word " Perfection " as their trade mark, it is not because their brushes 
"do not fully merit that superlative designation. Their line of goods in- 
cludes brushes of every description, with the exception of hair, tooth and 
nail brushes. Messrs. Whiting & Son have been untiring in their efforts 
I to perfect the quality of brushes for use in the arts and for domestic uses, 
and their efforts have been crowned with most flattering success. By di- 
repting, at the same time, close attention to improvements in the methods 
of manufacturing, they have been able to so far economize the cost of 
production that their greatly improved goods are sold to the user at no 
increase in price over the ordinary brush. The Whiting paint and varnish 
brushes are covered by a number of patents relating largely to the fixing 
of the handle to the bristles, which is the feature of most consequence in 
determining the durability of the tool. When well-selected stock is thus 
made up the result is bound to meet the demands of the most exacting 
painter. There are the full-center, open-center, and combination paint 
brushes, which vary in price and are intended to meet varying preferences 
of consumers in different sections of the country. The "combination' 
is applied largely to varnish brushes, though the " king " of brushes for 
this work, is the patent-chiseled, with the full-center. The patent " Dic- 
tator " and " Sterling " whitewash brushes possess two entirely new 
features, both practically useful, which are applied to the regular leather- 
bound whitewash brushes. The open space in the block or head of the 
brushes serves as a temporary receptacle for the whitewash or other liquid, 
and therefore renders the brush less likely to leak or drip when being 
used ; while upon dipping the brush or reversing its position, the liquid 
will readily run out. The other original features add greatly to the 
strength of the brush : the nails being clinched on the inside, can never 
pull out or start. These brushes are in every respect first-class, in addition 
to the above peculiarities. In artists' brushes the Messrs. Whitings' line 
is complete, and the excellent quality of their goods is attested by a large 
number of discriminating artists who continually use them. They make a 
specialty also of quill pencils for druggists, and also bristle and badger shav- 
ing-brushes, which are handled by the drug trade. The factory of Messrs. 
Whiting & Son is the largest of its class in the country, and consumes one- 
quarter of all the bristles imported into the United States, besides a 
large portion of the domestic. They carry a very heavy stock of goods 
and materials, and are enabled to fill orders with the least possible delay, 
for any quantity or style of brushes included in their extensive catalogue. 



40 

RAILROAD Purchasing agents 

AND 

MASTER CAR-^PAINTERS 

•^w^ill firLd. it tc tlieir a.d.T7-a,3:i.ta.g*e tc To-a^ 



For Sale by all the Leading Dealers everywhere. 

We make a number of lines, specially adapted to their work, that 
.are better than anything made by any other manufacturer, and at 

REASONABLE PRICES. 



Our lines cover everything, from Paint and other Brushes, for 
rough work, to finest quality Varnish Brushes, and Quill and 
.Metal-Tube Hair Pencils. 

ALL MANUFACTURERS OF 

Oars, Oa.rria,g-es, "'sT^a.g-ons, IF'-arriit-u.re, 
-u^g-ric-u.lt-u.ra.l Iraaplomerxts, etc., 

CAN BE SUITED IN EVERY RESPECT, BY 
BUYING OUR BRUSHES. 

Our Camel, Fitch, Badger, and Sable-hair Brushes and Pencils 
cannot be excelled in quality. Our motto is not "The Cheapest," 
but ** The Best," on these goods as well as on other Jines, 



We find that there is a large demand for first-class goods of the 
above kinds, showing that purchasers are willing to pay the differ- 
i.ence to get good goods. 

JOHN L, WHITING & SON, 

132 to 146 Oliver-street, Boston. 



THB 



lilting Brushes ^ 



ARE FOR SALE BY 



111 First-class Dealers in Brushes 



IN 



The United States, Canada and Mexico. 



ALSO KY THK 1 oLLOWING 



^VITT & SONS, Agents for Great Britain, 

70 Southampton Row, London, W, C, Eng. 

GEOi BENDA, Agent for France, 

30 Rue des Vosges, Paris, France. 

[dean & CO., Melbourne, Australia. 

BORTHWICK, Sydney, Australia. 

.LL & SON, Honolulu, H. I. 

S, SISE & CO., Dunedin, New Zealand. 

BY THE 

Dealers in General Merchandise in nearly every 
city in South America, 

AND OTHER IMPORTANT PLACES. 



v^v^ 



ii i 



M^^ 



'SS, 






THE LEADING 



Wholesale Dru^ists', Painters' 



AND 



Varnishets' Suppiji, 

fll^llISIIlS* SUPPIiY 



AND 



HARDWARE DEA' 



EVERYWHERE. 



